Reviews by PvtCaboose91

The Purge meets Dog Soldiers in 2024's Werewolves, a lean and mean action-horror flick that delivers precisely what the title promises: hordes of bloodthirsty lycanthropes hunting, fighting, and ripping people apart. A throwback film in several respects that has the energy and attitude of '80s action flicks, Werewolves favours practical creatures and blood effects and has a terrific leading man in the underrated Frank Grillo, who is shredded to the extremes and looks primed to give Hugh Jackman's physique a run for its money. With direct-to-video purveyor Steven C. Miller (First Kill, Escape Plan 2: Hades) at the helm, the picture feels exceeding DTV in its plot and storytelling, but the narrative's purity and simplicity are precisely why Werewolves feels so refreshing, especially in an age of "elevated" horror. Plus, Miller avoids many of the pitfalls associated with DTV productions, as there are no extraneous subplots or egregiously cartoonish digital effects.


One year before the story takes place, a unique supermoon event awakens a dormant gene in humans, causing them to turn into werewolves if the moonlight hits them, leading to worldwide chaos. With another supermoon event about to occur, the CDC hopes to control the situation and prevent another werewolf outbreak, with Dr. Aranda (Lou Diamond Philips) leading a team searching for a cure. The team includes Dr. Wesley Marshall (Frank Grillo) and Dr. Amy Chen (Katrina Law), who are testing a new spray-on "moon screen" treatment that shields participants from the moonlight, preventing them from turning into werewolves. The experiment goes awry, with the treatment only proving effective for an hour. After werewolves kill their colleagues, Marshall and Chen head out to cross the werewolf-infested city, hoping to reach Marshall's late brother's wife, Lucy (Ilfenesh Hadera), and daughter, Emma (Kamdynn Gary), to protect them from the hordes of attacking lycanthropes.

Mileage may vary depending on expectations, as Werewolves is the antithesis of plodding, critic-pandering horrors like Robert Eggers's Nosferatu or anything Ari Aster has directed. Without any pretensions, arthouse sensibilities or core messages, Werewolves is all about visceral thrills, and it is extremely silly, but Miller delivers the mayhem with tongue firmly planted in cheek. It is preposterous that Grillo is both a badass special forces operative and a scientist, and the "moon screen" serum preventing Marshall and Chen from turning in the moonlight for an hour at a time is a convenient plot contrivance so the actors can show their faces throughout the action scenes. Plus, the characters use a fun and varied arsenal of firearms, including a massive Gatling gun mounted to a vehicle in one memorable scene. Luckily, the actors are in tune with the material, with the superb Grillo showing once again that he deserves to lead more action movies, and it is fun to see Lou Diamond Phillips in a minor role as a respected doctor.


Although a budget figure is not available at the time of writing, Werewolves does not look cheap or nasty. Despite the bizarre insistence on lens flares, the movie looks slick and expensive, with robust production values, and Miller never uses slipshod CGI in an egregious attempt to enhance the scope. The movie's scale is small, but Miller makes the most of the resources at his disposal, and he nails the most important thing: the werewolves look amazing. They were designed by special effects maestros Alec Gillis and Tom Woodruff Jr., who also worked on several Alien films, as well as the AvP movies and 2018's The Predator. Not since Neil Marshall's Dog Soldiers have we seen practical lycanthropes look this convincing, while the impactful sound design gives them unnerving growls and roars, making these creatures seem wholly real instead of cartoonish digital creations or performers covered in obvious prosthetics. Miller also uses practical blood squibs, and the sparing use of digital effects for the transformations is practically seamless, resulting in some of the most satisfying transformation scenes since An American Werewolf in London. The attack scenes are enormously satisfying, with the lycanthropes biting and ripping hapless victims to pieces, and the terrific, gory prosthetics give a strong visceral edge to these scenes. Miller even delivers a memorable werewolf-on-werewolf fight scene for the climax, which left this review grinning like the Cheshire Cat.

Werewolves is a B movie through and through, standing in stark contrast to something like Leigh Whannell's Wolf Man, which was more about characters and allegory than pure werewolf action. Even though Werewolves is primarily an action movie, there is legitimate mood and atmosphere throughout the flick, with tense moments (an unseen werewolf growling in the dark) and ominous images (a character peers out a window to see a werewolf standing silhouetted against the night sky). Admittedly, though, the movie is not perfect, as the editing is too restrictive during certain action scenes, leading to a few awkward-feeling beats, and the muzzle flashes are obviously digital whenever a character discharges a firearm (a strange misstep considering the production's otherwise excellent special effects). Additionally, even though there is some badass dialogue at times, a lot of the dialogue is cheesy and standard-order, with characters feeling the need to vocalise the obvious. Matthew Kennedy's screenplay does not do enough with the intriguing premise; like The Purge, it feels like the budget-restrictive introduction of an excellent idea ripe for further exploration in sequels. But there is still plenty to enjoy here, with Miller creating an all-in-good-fun action romp that seldom slows down and feels like a return to classic, old-school horror fun.

6.8/10

An old-fashioned action-thriller from director Brian Goodman (2017's Black Butterfly with Antonio Banderas), 2022's Last Seen Alive seemingly appeared out of nowhere, releasing in a handful of cinemas in select territories with no fanfare. Despite this and its current 5.7/10 rating on the Internet Movie Database, Last Seen Alive deserves your attention. Led by the reliable Gerard Butler, this is a taut, gritty action-thriller that moves at an agreeably frenetic pace and never becomes bogged down in extraneous subplots or politics. It certainly emanates more gravitas than your usual bog-standard direct-to-video revenge film starring the likes of Steven Seagal.


Will Spann (Gerard Butler) is a well-off real estate developer going through a rough patch with his wife, Lisa (the beautiful Jaimie Alexander), who committed an act of infidelity and needs a break from their marriage. The two are travelling interstate to Lisa's hometown for her to stay with her parents while she works things out, but after a somewhat tense exchange, she mysteriously vanishes during a pitstop at a gas station. Will immediately springs into action to find her and alerts the local authorities to assist, contacting Detective Paterson (Russell Hornsby), who begins coordinating the investigation. However, the struggling husband cannot sit idly by while the police conduct their official enquiries in the crucial hours after her disappearance. Determined to do whatever it takes to retrieve his wife safely, Will pursues his own leads, leading him to uncover the town's seedy criminal underbelly.

Written by long-time movie producer Marc Frydman (his second screenplay credit after Black Butterfly), Last Seen Alive is relentless and no-nonsense from the word "go"; in fact, Lisa's abduction occurs within the first ten minutes. The feverish pace and the lack of narrative flab are reminiscent of the classic Kurt Russell/Jonathan Mostow movie Breakdown, though the scope is more modest in comparison, and there are no expensive, large-scale set pieces here. Indeed, Goodman derives satisfying thrills from smaller moments, such as a tense scene involving Will creeping into a suspect's trailer and getting into a brutal brawl or another sequence during which Will sneaks around a drug camp trying his hardest to remain undetected. The lack of scope does not mean that the movie feels cheap or nasty, however, as it feels expensive and skilful outside of a few moments (there's a shonky-looking digital explosion in the third act that will not impress anybody). Nevertheless, the screenplay feels overly clichéd at times, and the dialogue is relatively standard-order – there is not much wit or humour. Then again, I doubt anybody expected sharp dialogue.


Last Seen Alive is, thankfully, an R-rated action-thriller. Any viewers fearing another sanitised action offering will have their fears quelled within the first ten seconds, as the word "motherfucker" is said in the first line of dialogue before the movie's freaking title card. Do not expect non-stop profanity or excessive bloodshed, but Goodman does not shy away from bloody bullet wounds or swearing, nor does it feel like the director is pulling any punches. Action is sparse but brutal and effective; easy to follow, with solid choreography despite some set pieces taking place in dim locations. The picture also benefits from the inclusion of Butler, who expectedly shines in the leading role. Although the Scottish actor is not on the same level as Stallone or Schwarzenegger (nobody is, really), he is a reliable action star who looks believable when wielding a firearm. Plus, it is fun to hear Butler embrace his natural Scottish brogue here. Viewers who enjoyed Butler's turn as Mike Banning in the Fallen movies (not to mention his roles in Copshop and Den of Thieves) will have a good time with Last Seen Alive.

Goodman sometimes struggles to maintain a strong pace, especially with the picture delving into flashbacks to examine Will and Lisa's marriage before the abduction. Additionally, since the picture opens with a flash-forward that reveals who the real criminals are at the beginning, it makes all the red herrings and growing suspicion feel somewhat moot. Nevertheless, these points are not a deal-breaker. Mid-budget, R-rated action-thrillers like Last Seen Alive are becoming rarer in 2022, as direct-to-video rubbish mostly dominates the genre and studios are more concerned with superhero movies or blockbusters as they seek to generate another profitable franchise, which makes the film all the more refreshing. The screenplay often feels like a relic from the 1990s, as the narrative is gloriously old-fashioned in all the best ways, evoking pictures like Frantic and the aforementioned Breakdown. If this sounds appealing, Last Seen Alive is a worthwhile, enjoyable time-waster.

6.7/10

Aside from being notable for bringing Cameron Diaz out of retirement over ten years after her last feature-film appearance, there is nothing conceptually groundbreaking about 2025's Back in Action, which tells a familiar story and trots out numerous clichés. Heck, the narrative is even distinctly similar to the recent 2023 flick The Family Plan. But it's the execution that saves this Netflix action-adventure, as Back in Action is genuinely funny, exciting and involving, and it features a charismatic and capable cast. Director Seth Gordon (Horrible Bosses, Identity Thief), who co-wrote the screenplay with Brendan O'Brien (Neighbors, Mike and Dave Need Wedding Dates), orchestrates a high-energy espionage yarn with slick visuals and robust pacing, resulting in an entertaining if relatively unmemorable romp that eclipses most of Netflix's recent action offerings.


CIA spies Emily (Cameron Diaz) and Matt (Jamie Foxx) retrieve an Industrial Control Systems Key in Eastern Europe to ensure that America's enemies cannot use the device to disrupt crucial infrastructure. Although they successfully steal the Key from terrorist Balthazar Gor (Robert Besta), their getaway goes awry, with the two narrowly escaping a plane crash. With Emily finding out she is pregnant with Matt's child, they decide to use the crash as an opportunity to disappear, starting new lives away from the agency and letting everyone believe they are dead. Fifteen years later, Emily and Matt have two children together, Alice (McKenna Roberts) and Leo (Rylan Jackson), and they maintain a pleasant, unremarkable suburban existence. However, when a viral video exposes Emily and Matt's location, their former handler, Chuck (Kyle Chandler), quickly finds them and explains that Gor's men are coming after the couple to retrieve the ICS Key. Grabbing the kids and fleeing, the former spies plan to travel to England to visit Emily's mother, Ginny (Glenn Close), while Gor's men relentlessly pursue them. Also on their tale are MI6 agents led by Baron (Andrew Scott), who knew the pair during their CIA days and similarly wants to retrieve the Key.

Although Back in Action is largely predictable and relies on well-worn genre tropes (including a resentful teenage daughter, Hollywoodised high-tech computers, and a powerful MacGuffin), there are a few surprises along the way, and the picture deploys red herrings to nice effect. Fortunately, the dialogue does not merely amount to tone-deaf action-movie speak, as there is a genuine spark of wit to many of the character interactions, and the movie consistently scores easygoing laughs. (However, the scenes with Baron and his MI6 agents are extremely bog-standard). Perhaps Back in Action could have been improved with an R-rated spark to the dialogue, especially since Gordon and O'Brien specialise in adult-oriented comedies, but the flick thankfully never feels unnaturally neutered by the restrictions of its PG-13 rating.


Back in Action is silly and stretches credulity at times, but knowingly so, never asking viewers to accept the proceedings with a straight face. The goofiness even extends to using the combination of Mentos and Diet Coke as a weapon during a vehicular chase. With Gordon eschewing a dark or gritty tone, the flick sometimes feels like an old-fashioned action-comedy from the 1990s or early 2000s, recalling pictures like True Lies, Mr. & Mrs. Smith, and the two underrated Charlie's Angels films starring Diaz. Gordon also makes great use of music during the action set pieces to enhance the energy, selecting classic tracks like At Last, Ain't That a Kick in the Head and James Brown's Papa's Got a Brand New Bag while the characters engage in butt-kicking. Admittedly, the picture's prologue features imperfect special effects, including obvious blue-screening and videogame-level CGI, which made this reviewer miss the days of location shooting and practical models. Thankfully, however, most of the action throughout the rest of the picture is more grounded, with competent fight choreography that is actually comprehensible thanks to smooth camerawork and editing.

Returning to acting for the first time since 2014 (when she starred in The Other Woman, Sex Tape, and Annie), Diaz lights up the screen with genuine charm, and she shares terrific chemistry with the equally energetic Foxx, who was determined to convince the actress to take the role. Glenn Close also makes a delightful impression as the smart, savvy, resourceful Ginny, a fun reprieve from the usual mother archetype. Meanwhile, Jamie Demetriou is the film's comedic secret weapon as Ginny's lover, Nigel, who aspires to be an MI6 agent by putting himself through self-devised training regimens. The Stath Lets Flats actor brings immense energy to the picture with his lovable goofiness, scoring belly laughs whenever he appears and never overdoing the schtick. Back in Action gives all the characters a time to shine, with Nigel even getting in on the action during the climax. Other recognisable performers here include Andrew Scott and Kyle Chandler, who are perfectly sufficient, while newcomers McKenna Roberts and Rylan Jackson make a positive impression as Emily and Matt's kids.


A throwback spy caper, Back in Action succeeds because it's an action-comedy that delivers actual humour and fun action. Despite the unoriginal narrative, the movie does not fall victim to the usual flaws associated with such productions - indeed, it is far funnier and more engaging than similar streaming likes like The Family Man and Ghosted. Back in Action ends with a blatant sequel tease, and the prospect of another light-hearted adventure with these characters is surprisingly enticing.

7.2/10

Quickie sequels are not a strange concept to 21st-century audiences, with studios routinely forcing follow-ups to successful movies within a year or two of their predecessor. But 1933's The Son of Kong was developed, filmed and released in the same year as the enormously successful King Kong, hitting cinemas a mere nine months after its iconic predecessor. RKO Radio Pictures wanted to release the sequel in time for Christmas, bringing back directors Ernest B. Schoedsack and Merian C. Cooper, screenwriter Ruth Rose, composer Max Steiner and several others to accomplish the seemingly impossible within a six-month production period. With a few familiar faces also returning, The Son of Kong is fascinating from a historical perspective and is worth watching for its minor highlights, but it pales in comparison to the highly influential King Kong.


A month after Kong fell to his death from the Empire State Building following his destructive rampage through the city, Carl Denham (Robert Armstrong) faces numerous lawsuits and is on the verge of indictment by a grand jury. Escaping prosecution, Denham leaves New York City aboard the Venture, which is still under the command of Captain Englehorn (Frank Reicher), who also fears legal action against him if he stays. After failing to make much money moving cargo around Asia, Denham and Englehorn arrive at the port of Dakang, where they encounter Nils Helstrom (John Marston), the Norwegian captain who initially sold Denham the map to Skull Island. Helstrom convinces Denham and Englehorn that there is a treasure on Skull Island they can retrieve together, but this is only a ploy to dupe the men to take him away from Dakang to prevent his prosecution for the death of Mr. Petersen (Clarence Wilson). The voyage soon gains a stowaway in Petersen's daughter, Hilda (Helen Mack), who winds up accompanying Denham, Englehorn, Helstrom and the ship's cook (Victor Wong) when the crew of the Venture stage a mutiny. The group soon arrive on the shores of Skull Island, where they encounter a large albino gorilla who, presumably, is Kong's son.

Screenwriter Ruth Rose (who co-wrote King Kong and was married to Ernest B. Schoedsack) knew the sequel had no chance of equalling the first film, let alone surpassing it, and instead concentrated on making it funnier. The Son of Kong is knowingly goofy and tongue-in-cheek, with the characters even finding Kong's son within minutes of landing on the island, a laughable notion after the ape was nowhere to be seen in the original picture. Beyond Denham landing his boat a bit further up the island, the script offers no explanation about where Little Kong was hiding during the first film's events. Indeed, Rose's script knowingly leans into the goofiness, never even trying to recapture the emotional core or heart of King Kong. In one scene, Little Kong scratches his head and shrugs at the camera, seemingly breaking the fourth wall, which reflects the non-serious tone. Little Kong also acts embarrassed when he sees Denham and Hilda kissing, and the scene of the pair bandaging the ape's finger is more amusing than touching. Furthermore, the storytelling is less assured than the first picture, with The Son of Kong struggling to maintain interest in the lead-up to the return to Skull Island. However, the screenplay does contain some fascinating ideas, including the Skull Island natives blaming Denham for Kong destroying their village and making it clear that he is not welcome.


Willis H. O'Brien returned to oversee the stop-motion animation for this sequel, though traumatic personal circumstances and frustrations with Cooper and Schoedsack reduced his involvement, as the animator seldom showed up for work. In his stead, Buzz Gibson (O'Brien's assistant on King Kong) finished the animation. Especially due to the time constraints, The Son of Kong features significantly fewer special effects sequences than its predecessor, with the characters arriving on Skull Island at the 40-minute mark of the 70-minute picture. Planned sequences were abandoned, including a dinosaur stampede during the climactic cyclone/earthquake on Skull Island that never made it past the scripting stage. Schoedsack was the sole director for The Son of Kong, as Cooper lost interest in the project after finding out about the reduced budget (less than half of King Kong's budget) and fast turnaround time, instead serving as an executive producer.

Despite the accelerated production schedule, the special effects throughout The Son of Kong remain impressive for the most part, with the crew once again using matte paintings, miniatures and rear-screen projection to portray Skull Island and integrate the live-action actors with the animated creatures. Notable set pieces include a large Styracosaurus chasing a group of characters into a cave and a prehistoric cave bear fighting Little Kong. Although these scenes display an unnerving edge with the ferocious roars of the creatures, the picture's goofiness also shines through, with Steiner's intense music turning to something more playful as Little Kong bumps his head on some rocks during the scuttle. To distinguish Little Kong (or "Kiko") from his father, the ape is albino with white fur and is understandably smaller than King Kong. Little Kong's armature is actually a repurposed Kong puppet from the original film.


Despite RKO's desperate attempt to recapture King Kong's commercial success by striking while the iron was hot, The Son of Kong was only a moderate success, grossing a bit over twice its budget and not coming close to replicating the box office earnings of its predecessor. One supposes that the comparatively underwhelming commercial performance dissuaded RKO from pursuing any further sequels, with the King Kong franchise subsequently lying dormant until Toho used the character in the 1960s and Dino De Laurentiis produced a King Kong remake in 1976. Without ever coming close to the heights of its predecessor, The Son of Kong is a watchable epilogue that remains a competent showcase for the era's groundbreaking stop-motion special effects. Just skip past the first 40 minutes and start watching when the characters reach Skull Island. It feels like half-hearted leftovers, but at least it's sometimes fun. Interestingly, Robert Armstrong reportedly preferred The Son of Kong over the original film because the sequel focuses more on Denham, with the film director becoming the story's protagonist and receiving a happy ending in which he gets the girl. It is doubtful any viewers will share his opinion.

6.1/10

Despite The Inbetweeners creators Damon Beesley and Iain Morris designing and intending 2011's The Inbetweeners Movie to serve as a theatrical finale for the beloved television show, the immense commercial success immediately prompted sequel talks. Beesley and Morris return to oversee the screenplay again, though this time they take over directorial duties from veteran The Inbetweeners director Ben Palmer (who was busy with 2015's Man Up). 2014's The Inbetweeners 2 takes the quartet of eponymous British horndogs to Australia, where they find themselves in awkward situations at nightclubs, hostels, water parks and even the outback, encountering all sorts of local Aussie icons during their travels, including backpackers and bogans. Despite containing isolated comedic highlights, The Inbetweeners 2 is more hit-and-miss than its predecessor, with an uneven narrative flow and a lack of heart. The magic of The Inbetweeners is noticeably starting to fade.


Picking up an undisclosed amount of time after The Inbetweeners Movie, this sequel checks in with Will (Simon Bird) and Simon (Joe Thomas), who are studying at University, while Neil (Blake Harrison) works in a bank and Jay (James Buckley) is living in Australia for a gap year. Three of the boys are single again, while Jay is intensely unhappy in his relationship with the obsessive and abusive Lucy (Tamla Kari). After Jay sends an email bragging about his successes in the land Down Under, his three friends decide to fly to Sydney for a visit. Although Jay was lying and exaggerating about his lifestyle, the boys set out to make the most of their time together in Australia. After Will reunites with a former private school friend, the attractive Katie (Emily Berrington), the four lads begin their holiday with a trip to Byron Bay, sparking a series of misadventures that eventually lead them to the Australian Outback.

Since The Inbetweeners 2 involves Will, Simon and Neil taking up Jay's offer to visit him despite his outlandish, clearly unbelievable claims about his exploits in Australia, the story contains shades of the episode The Caravan Club, though the results are far less successful. By necessity, The Inbetweeners 2 rolls back the happy ending of The Inbetweeners Movie, with things not having worked out between the boys and their respective girlfriends. The development may not sit right for fans, especially those wanting a happy and definitive ending for the boys. Lucy's character assassination is likewise an uneasy development, turning the affectionate and endearing character from the first movie into a cheating psycho. The dynamic never yields meaty laughs, making it feel all the more unnecessary.


Despite its flaws, Beesley and Morris thankfully devise several memorable comedic set pieces for The Inbetweeners 2, consistently pushing the boundaries with scenes involving poo, urine, vomit, and all manner of vulgar language. The Splash Planet sequence is the movie's comedic highlight, feeling like classic Inbetweeners through and through, including the side-splitting use of Adagio in G Minor. The picture is at its strongest during the first two acts, as the pacing is mostly brisk, and the flick recaptures the magical spark of the series and previous movie, delivering laughs with relative ease. Beesley and Morris still understand what makes The Inbetweeners funny, allowing Jay to go nuts with his crude dialogue while awkward situations abound, especially as Will continually gets into trouble. The script also pokes fun at things like expensive mobile phone charges while overseas. However, the laughs are distinctly more intermittent than previous Inbetweeners outings, with only a few genuine laugh-out-loud moments. More pertinently, the film is less successful once it transitions to the Australian Outback during the third act, as the pacing grinds to an unmistakable halt and the sense of fun wanes.

The Inbetweeners 2 takes advantage of shooting in Australia, showing off picturesque locations in Circular Quay, Byron Bay, the Gold Coast, and the expansive Australian Outback. (Reportedly, the directors considered filming in South Africa, but this thankfully did not come to pass. The authenticity of the Australian locations greatly contributes to the charm.) With the film retaining cinematographer Ben Wheeler (who shot The Inbetweeners Movie and several episodes of the original series), the visuals carry an appropriate cinematic gloss to ensure it does not look like a glorified television movie. There are fun visual flourishes at times, such as a single-shot tour of Jay's (fictitious, fantastical) Australian lifestyle and the shadowy opening credits featuring some of the boys in Harry Potter outfits. The actors give it their all, with the four boys slipping back into their infamous roles effortlessly. Simon Bird again provides voiceover throughout the movie, and the cast features several returning performers from the original series, including Belinda Stewart-Wilson as Will's mother and the inimitable David Schaal as Jay's outspoken father. Also joining the cast is recognisable Australian actor David Field (Chopper, Gettin' Square), who's hilarious as Jay's Uncle Bryan, bringing an authentic Aussie flavour to the character. Another top-notch addition is Anthony Simcoe, who steals the show despite appearing only briefly towards the end of the film as a foul-mouthed outback farmer.


Presumably concluding The Inbetweeners for good (such crude, offensive content would probably not fly anymore), The Inbetweeners 2 does not devise a stereotypically happy ending for the boys. The conclusion is optimistic, but they all remain single, though this ending feels more in keeping with the show's modus operandi. It is a shame that The Inbetweeners 2 is such a mixed bag, particularly considering how much material was excised to craft the movie's final 92-minute runtime (the Blu-ray contains 35 minutes of deleted scenes). There is just enough here to justify watching it at least once, but it is not as rewatchable as the preceding film.

6.2/10

Indescribably touching and almost unbearably poignant, 2024's Super/Man: The Christopher Reeve Story chronicles the life of Superman actor Christopher Reeve from his early career all the way through to the horseback riding accident that changed everything. Using archival recordings from Reeve's audiobooks, the documentary allows the actor to narrate his own life, providing insight into his personal life and philosophies, interspersed with fascinating home video footage showing the actor at his most natural and comfortable. Directors Ian Bonhôte and Peter Ettedgui, along with editor and co-writer Otto Burnham, create a comprehensive picture of Reeve's life in a non-linear fashion, using newly filmed interviews as well as archival film clips, photographs, interviews, talk show excerpts, and news broadcasts. Super/Man delivers ample content during its brisk 104-minute duration, never lingering too long while covering topics and segments in sufficient detail.


The production of 1978's Superman understandably receives the most attention, covering the search for someone to play the role, screen-testing Reeve, and key points throughout the production, such as the hero's first flight. Archival footage of the late Richard Donner meaningfully enhances these segments. Understandably, the documentary also heavily concentrates on Reeve's horseriding accident and what happened afterwards. With Reeve enduring a high-level spinal cord injury, the actor pondered his mortality and desired to end his life before his wife, Dana Reeve, reassured him, which gave him the strength to persevere. Super/Man explores the logistics of Reeve's expensive medical care that required 24-hour nursing care and highlights the support he received as Hollywood rallied around him.

Bonhôte and Ettedgui interview a range of participants, including all three of Reeve's children (Matthew, Will, and Alexandra) and key figures in the actor's life, from actors (such as Jeff Daniels, Glenn Close, Whoopi Goldberg, Susan Sarandon) to family, Superman producer Pierre Spengler, and more. The documentary includes archival footage of Robin Williams, who lived with Reeve during his early career when they both studied at Julliard School in New York City and was among his closest friends. Williams gives the documentary valuable moments of humour and levity, and it renders the footage of the distraught actor at Reeve's funeral even more heartwrenching. Perhaps the documentary leaves a few stones unturned (Reeve's Superman co-star, the late Margot Kidder, is not even mentioned despite being a close friend of his), but this is a minor quibble.


Instead of blind worship or a vanilla recount of the performer's life, Super/Man does touch upon his shortcomings, including the disintegration of his relationship with Gae Exton (the mother of two of his first children), whom he did not want to marry, and his perspective on people with disabilities before the accident. The lowest points of Reeve's career are covered, including the legendarily maligned Superman IV: The Quest for Peace, and it is fascinating to see the actor returning to acting and trying his hand at directing films after his paralysis. The documentary also delves into the actor's activism, as Reeve started the Christopher Reeve Foundation (later the Christopher & Dana Reeve Foundation) in the mid-1990s to raise money for stem cell research and explore cures for spinal cord injuries. Despite the foregone conclusion of Reeve's tragic death in 2004, the feature still leaves you hoping that Reeve will overcome his spinal injury and walk again, especially as he showed improvement later in his life with the ability to move one of his fingers.

After spending significant time watching Reeve in his personal and professional life, the actor's inevitable passing is overwhelmingly emotional. Although basic details of Reeve's death are available on websites like Wikipedia, it is incredibly affecting to hear the story firsthand from his children, who add immediacy and depth to their recount of what happened. But the story does not end there, with Super/Man also covering Dana's passing less than two years later. Despite the headiness of this material, the picture ends on an uplifting note, underscoring Reeve's legacy with the continuing work of his foundation and incorporating one last voiceover as the late actor speaks about his definition of the term "hero." Technically the first production from the newly established DC Studios, Super/Man: The Christopher Reeve Story is an incredible documentary and one of 2024's best movies.

9.2/10

It is a challenging time to be a J.R.R. Tolkien fan, with Amazon's streaming series The Lord of the Rings: The Rings of Power coming across as poor, lifeless fanfiction that grossly mishandles the lore, showing no respect or reverence for the acclaimed source material. Competing with Amazon, 2024's The Lord of the Rings: The War of the Rohirrim ostensibly ticks all the boxes to win back lapsed fans due to the involvement of Wētā Workshop as well as Lord of the Rings screenwriter Philippa Boyens, with the prequel adapting material from Tolkien's extensive appendices. (Peter Jackson's name is attached as an executive producer, but this is merely tokenistic; he only joined a few months before the film's release.) But instead of a lavish theatrical event worthy of Peter Jackson's Lord of the Rings trilogy, The War of the Rohirrim - with a meagre $30 million budget - solely exists for New Line to retain the film rights to Tolkien's work, and it often feels like corporatised content. Furthermore, switching from live-action to animation is a shaky proposition, and the resulting picture looks and feels more like a straight-to-video animated movie (like the company's animated DC productions) than a grand theatrical event.


Taking place nearly 200 years before the War of the Ring, The War of the Rohirrim is the story of Helm Hammerhand (Brian Cox), the legendary king of Rohan. Helm has two sons, Haleth (Benjamin Wainwright) and Hama (Yazdan Qafouri), while his daughter, Héra (Gaia Wise), is rebellious and adventurous. Freca (Shaun Dooley), a Dunlending lord, visits Rohan's great hall to forcefully request that Héra marry Freca's son, Wulf (Luca Pasqualino). However, Héra is wholly uninterested in marrying Wulf, and Helm insults Freca, leading to a fight outside the hall that results in Freca's death from a single punch. Wulf vows revenge, departing Rohan for years and becoming the High Lord of the Dunlendings, a tribe of Wildmen who live on the plains of Dunlend. After Wulf invades Rohan, Héra evacuates the city, leading the people of Edoras to the stronghold of the Hornburg, where they intend to make their last stand against the Dunlendings.

Turning to the appendices to explore more stories within Middle-earth, the four credited screenwriters (Jeffrey Addiss, Will Matthews, Arty Papageorgiou, and Boyens's daughter, Phoebe Gittins) expand mere ideas into a complete narrative, moving away from Frodo, Bilbo and the One Ring to explore Rohan's past. The War of the Rohirrim is at its best during the first twenty minutes or so, with the screenplay closely adhering to the material from the appendices, down to Helm insulting Freca's weight. The first act also establishes how Helm earns his "Hammerhand" nickname in a highly badass moment, and Cox's vocal performance is exceptional, bringing regalness and authority to Rohan's great ruler. Unfortunately, the movie does not concentrate enough on Helm, relegating him to a supporting character in his own story. There are memorable highlights when Helm engages in combat, but the picture glosses over one particularly crucial moment in the third act, abruptly cutting to the aftermath of what should be a stirring extended battle featuring the legendary king fighting scores of Dunlendings.


The screenplay strives to recreate the style of dialogue from Tolkien's novels and the Lord of the Rings film trilogy, but this sometimes results in the movie straight-up copying dialogue ("His eye will be fixed on me") or conspicuously rewording iconic lines ("We will paint the dawn red"). The recycled dialogue is obvious to the point of distraction for die-hard fans of the trilogy. Additionally, The War of the Rohirrim's storytelling lacks gravitas, with the pace slowing down tremendously during the second half, making the 134-minute runtime sometimes feel like a slog. Unfortunately, Héra is not a sufficiently compelling protagonist, and it makes no sense for her to be smarter than the battle-hardened male warriors surrounding her. Plus, the narration positing that the old songs exclude Héra makes no logical sense as she is the narrative's key driving force, achieving more than her father. There is a groan-worthy, uneasy implication that Héra's gender resulted in her exclusion from tales and songs despite Middle-earth stories featuring numerous female characters (Elwing, Lúthien, Tar-Ancalimë, Aredhel, and so on).

Thankfully, pieces of The War of the Rohirrim do work, including the characters spreading rumours about Helm becoming a supernatural being and the climactic siege of the Hornburg. The picture connects to the Lord of the Rings trilogy with little touches that fans will appreciate, such as including two orcs (voiced by Billy Boyd and Dominic Monahan) searching for rings under orders from Mordor. Saruman the White also appears in a brief cameo, with the team using an archival recording of Christopher Lee's distinctive voice. Miranda Otto is another significant connection to the trilogy; her inclusion is among the movie's biggest assets. The narration is wonderfully poetic and involving, with Otto providing a spirited and involving vocal performance. Fortunately, the rest of the voice cast gives it their all, with British actor Luca Pasqualino giving Wulf an effective villainous edge while Gaia Wise is an engaging Héra. The material and pacing do not always serve the performers, but the cast makes a positive impression nevertheless.


The visual design of The War of the Rohirrim is striking, as the picture faithfully recreates locations, sets, creatures and costumes from the Lord of the Rings trilogy (old Wētā models were even used for reference), making it all the more disappointing that the movie is not live-action. However, the animated characters are not as successful, with the animation alternating between serviceable and extremely slipshod. The characters were brought to life through motion capture instead of rotoscoping, but character movements in some scenes look alarmingly unnatural and stiff. More than 60 companies worked on the animation to complete the picture on time, making the mixed quality somewhat unsurprising. Despite the release date delays ostensibly implying the filmmakers wanted the time to execute the film to the highest standard, it still looks incomplete at times, though it still does deliver some awe-inspiring visuals at times. Although the battles are not on the same level as the Peter Jackson films, director Kenji Kamiyama (Blade Runner: Black Lotus, Star Wars: Visions) executes a few fluid and exciting action beats, and it is undeniably thrilling to see Rohirrim soldiers battling the Dunlendings. However, even though the music by Stephen Gallagher (who was the music editor for the Hobbit trilogy) occasionally works, it, for the most part, sounds like a pale, uninspiring imitation of Howard Score's iconic compositions from The Lord of the Rings and The Hobbit.

Hoping to cash in on the popularity of the still-popular Lord of the Rings films, The Lord of the Rings: The War of the Rohirrim amounts to a mishmash of popular elements from the original trilogy, from a Rohirrim charge (complete with dialogue mirroring what Théoden said during the Battle of the Pelennor Fields) to a siege of Helm's Deep and the inclusion of familiar Middle-earth creatures, such as mûmakil, the eagles, Crebain from Dunlend, and a Watcher in the Water. However, although the prequel fills in some gaps and delivers a few worthwhile sequences, especially when revisiting familiar locations, it does not coalesce into a satisfying or emotionally stimulating whole, resulting in an uneven 134 minutes that struggles to maintain interest. For a movie about battle, it lacks urgency. The movie is simultaneously not as bad as fans might have feared, but it is not the masterpiece it had the potential to be.

6.0/10